Charles Olson

Charles Olson, in full Charles John Olson, (born Dec. 27, 1910, Worcester, Mass., U.S.—died Jan. 10, 1970, New York, N.Y.), American poet and literary theorist, widely credited with first using the term postmodern in discussing American poetry and known for his association with the Black Mountain poets and for his influence on the generation of American poets who emerged after World War II.

Olson was born into a working-class family. He spent summers with his parents in the seaside city of Gloucester, Mass., which would later become both his adopted hometown and the inspiration for much of his work. He was educated at Wesleyan University (B.A. 1932; M.A. 1933) in Middletown, Conn. He taught at Clark University in his native Worcester, Mass., for two years. In 1936 he entered Harvard University, teaching while completing course work toward a Ph.D.; he left three years later after receiving a Guggenheim Fellowship to expand his M.A. thesis on Herman Melville into a book. During World War II Olson worked in the Office of War Information; he left government work in 1944, disgruntled with party politics.

Olson first gained recognition for Call Me Ishmael (1947), a reworked version of his previous study of the literary influences on Melville’s Moby Dick. About that time Olson joined the faculty of Black Mountain College, an experimental liberal arts school in Black Mountain, N.C., that housed such innovative figures as the architect R. Buckminster Fuller and the composer John Cage. Olson served first as an instructor and then as rector until the college closed in 1956. Afterward he devoted much of his life to his craft, living primarily in Gloucester while occasionally accepting visiting professorships at various institutions, including the State University of New York at Buffalo (now called the University at Buffalo) and the University of Connecticut at Storrs.

Olson is often credited with coining the term postmodern in reference to postwar American poetry, although that honour likely belongs to the poet Randall Jarrell. Whatever the origin of the term, Olson clearly heralded an American poetry that was “postmodern” in the sense that its authors moved beyond not only the subjectivism and symbolism of Romantic and late 19th-century poetry, which he thought was artificial, but also beyond the Modernism of American poets such as Ezra Pound (who greatly influenced Olson and corresponded with him) and T.S. Eliot, whose work Olson felt was too dependent upon European tradition.

In developing his poetics, Olson drew from a wide array of influences, including mythology, the history and geography of Gloucester, and the process philosophy of Alfred North Whitehead. Olson believed that the act of poetic creation should be connected to a primordial dimension of human existence. He wrote in his landmark essay “Projective Verse” (1950) that poetry was a form of “energy transferred from where the poet got it” to the reader. In distinction from the “closed form” of conventional poetic metre, Olson proposed an “open field” that “projects” organically from the poem’s content—i.e., the perception of the poet who interacts with and yet is an integral part of his immediate environment. Olson used the duration of a human breath, a basic human function that conveyed a poet’s vital energy, as the measure of a poetic line. His magnum opus and testament to his projective poetics was The Maximus Poems (various volumes published in 1960, 1968, and 1975; first published as a whole in 1983), a long work comprising letter poems and ruminations attributed to “Maximus of Gloucester,” Olson’s alter ego.

Olson exerted tremendous influence on the poets of the 1950s and ’60s. His projective poetics was an inspiration to the so-called Black Mountain poets—a loose movement of teachers, such as Robert Duncan and Robert Creeley, and students at Black Mountain College—as well as other experimental poets such as Denise Levertov, who was published in the Black Mountain Review (which Creeley edited), and also Beat poetsAllen Ginsberg and Michael McClure.

Among Olson’s works apart from The Maximus Poems are In Cold Hell, in Thicket (1953), The Distances (1960), and Letters for Origin, 1950–1956 (1969). Posthumous collections of Olson’s work include A Nation of Nothing but Poetry: Supplementary Poems, edited by George F. Butterick (2000), and Collected Prose, edited by Donald Allen and Benjamin Friedlander (1997).

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